Masa turns folded brown forms into a collective landscape where volume, scale and inhabited abstraction converge.

Masa (2021) develops a sculptural syntax of collective volume through a constellation of folded brown forms that oscillate between architecture, landscape and portable monument. Arranged as a clustered field of angular masses, these paper-like structures evoke towers, shelters, geological protrusions and provisional urban fragments, while their shared chromatic restraint consolidates the ensemble into a single topographic body. The insertion of a miniature human figure is decisive: scale becomes relational, transforming abstraction into inhabitable proposition and converting the sculptural group into an imagined civic terrain. Here, Lloveras mobilises mass not as weight alone but as social condition—an aggregate logic in which each unit retains formal autonomy while contributing to a broader spatial ecology. As a case study in socioplastic composition, Masa demonstrates how modest materials and elementary folds may generate a complex grammar of collective presence, where the city is reduced to volume and volume to an affective model of coexistence. Neither maquette nor ruin, the work occupies an unstable threshold between prototype and fiction, suggesting that architecture begins not with construction but with the distribution of bodies, densities and silhouettes in shared space. Lloveras, A. (2021) ‘MASA’, Socioplastics, 19 December. Available at: https://antolloveras.blogspot.com/2021/12/masa.html (Accessed: 26 April 2026). 

HIDDEN FORCES:::::::::::::::::::NO TAG_________________SUPREMATISM AND DUNES_____________________ CÁDIZ 2019

Along the windswept periphery of Cádiz, an ordinary beach barrier becomes the site of a discreet yet poetic intervention, where a black identification tag is carefully removed, revealing instead a white monochrome that resonates with the tonal palette of the surrounding sand and sea mist, subtly merging the sculptural object into the larger coastal tableau. This gesture, minimalist in form yet conceptually dense, operates within the logic of hidden works, those that do not impose but instead recede into the environment, altering it through near-invisibility rather than spectacle. As a fleeting manifestation of Suprematism in the dunes, the altered barrier proposes a radical rethinking of public space aesthetics, where utility yields to quiet abstraction and signage becomes silence. This act, seemingly minor, challenges the ubiquity of functional signage by turning it into an unannounced artwork, a monochromatic fragment of a larger, unseen composition that stretches across the coastal scape. Echoing the lineage of non-objective art, the work privileges sensation over message, offering a contemplative loop in which form and context coalesce. Captured in a 60-second video loop, exhibited at LAPIEZA GALLERY, this piece is not only a film but a site-specific meditation, anchored in the supernatural atmosphere of Cádiz, where dunes act as a canvas and the wind becomes a collaborator. The viewer is invited not just to see but to sense the shift—an ephemeral artwork that leaves behind no plaque, only a pause in the landscape, an environmental punctuation that briefly renders the everyday extraordinary.

Make a better environment. 
The black tag is removed, generating a pleasant white rectangle instead. 
Suprematism in the dunes. 

FILM 60 SECONDS LOOP. HD VIDEO. LAPIEZA GALLERY. 
CÁDIZ SUPERNATURAL.

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